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Old 10.20.2007, 10:58 AM   #1
Bunbury
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Text of Light @ SOUNDplay Festival
Saturday, October 27, 8pm
Latvian House, 491 College St.
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Old 10.20.2007, 12:07 PM   #2
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i miss canada.
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Old 10.20.2007, 09:22 PM   #3
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What do you miss aboot it?

RN
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Old 10.22.2007, 12:49 PM   #4
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damn it, i can't make this... wish i knew sooner.
toronto is just a hop skip and jump over the border for me.
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Old 10.24.2007, 04:53 PM   #5
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Come up anyway....It should be good.

Quote:
Originally Posted by scott v
damn it, i can't make this... wish i knew sooner.
toronto is just a hop skip and jump over the border for me.
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Old 10.27.2007, 03:04 PM   #6
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Also (from http://www.sonicurbs.com/textoflight/pag/calendar.htm)

October - Sunday 28th - 12pm.
Latvian House - 491 College, Toronto, Canada.
A panel discussion with all 3 members,
moderated by Art Gallery of Ontario's Ben Portis.
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Old 10.28.2007, 12:04 AM   #7
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I was there tonite and I can give a quick recap. The group played two 1/2 hours song/sets played to Brackhage films shot in Toronto.

Lee built up crazy tension with his guitar and it was quite a lovley finale. I think he played a Fernandez guitar and assorted persussion instruments. There might have been around 250 people there....
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Old 10.28.2007, 12:28 AM   #8
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Wish I could've been there
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Old 10.29.2007, 07:31 PM   #9
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I was there, found out about it the day of the show after going to Toronto to see Ween the night before. Pure noise and pschedelic visuals! My DVD of the show filmed from the front row will be coming soon!
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Old 10.29.2007, 07:39 PM   #10
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Quote:
Originally Posted by eargogglez
I was there, found out about it the day of the show after going to Toronto to see Ween the night before. Pure noise and pschedelic visuals! My DVD of the show filmed from the front row will be coming soon!

sweeeeeet!!!!! thanks!!!!!!!!!!!
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Old 10.29.2007, 09:15 PM   #11
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Greenlight..

I was there too. How many people do you estimate were there?

Thats great if you could share. Where is Cowtown?
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Old 10.29.2007, 10:27 PM   #12
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Cowtown is Calgary, Alberta! I'm guessing there was 50 - 75 people there. I met 2 cool Sonic Youth fans, one of which was at the 2002 Vancouver show I saw, and I got a photo with Lee Ranaldo after the show. I'll post a few photos later when my girlfriend emails them to me. Also I bought 2 Text of Light CD's, one of which was recorded live in the Netherlands by none other than Rappard from this very board. Thanks man!
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Old 10.30.2007, 09:07 PM   #13
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Live Eye: Text of Light @ SOUNDplay Festival, Latvian Hall, Oct 27

October 29th, 2007
Dave Morris

 
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How do you know that a performance has had at least subconscious effect on you? When you find yourself randomly humming the tunes afterwards? Not likely, at least when the show in question consisted of three players improvising freely with no drums or recognizable pulse to speak of. So when the noisiest melodies this writer knows sprang to mind — half-forgotten Metallica riffs — days later, take it as a sublimated sign that Text of Light’s gig on Day 2 of New Adventures in Sound Art’s SOUNDplay festival left some small mark on the psyche.
The first half of the evening consisted of numerous short films scored in multi-channel mixes delivered via eight top-quality speakers throughout the room. Some, like filmmaker Ines Wickmann and sound artist Francis Dhomont’s “Moirures,” suffered for their reliance on digital audio processing techniques that sound sterile and dated to these (admittedly neophyte) ears, but Stephanie Loveless“Lines” with its trance-inducing pianos and washed-out images of railroad tracks seemed more in keeping with the second half of the program, where Text of Light improvised hazy soundtracks to two short films by Stan Brakhage.
It was a bit of a surprise to discover after some subsequent research that Text of Light — here comprised of Lee Ranaldo and Alan Licht on guitars/effects and Ulrich Krieger on sax — are a regularly-working group. The three veteran improvisers are clearly comfortable playing together, particularly in quiet passages where they carefully laid down spare, ringing guitars and breathy sax drones forming layers of sound as wispy and transient as spiders’ webs. Yet very little of what they were doing seemed to reflect Brakhage’s films — the first of which was “City Streaming,” a Toronto-made 1990 film whose off-kilter shots of power lines as glimpsed from subway cars and apartment interiors seen through shaky cameras suggested far more activity than Text of Light seemed interested in reflecting. Where you might have imagined that the pairing of film and music might change the experience of both, it ultimately seemed futile not to focus on one other the other.
The three players kept going through the break between films — another indication that they were disconnected from the on-screen action — but although they remained subdued, with Krieger’s fingers skittering over his saxophone’s keys and the two guitarists leaving each other space to play a little, you could sense the growing intensity, particularly as the frequency of Ranaldo’s jagged exclamations increased. The second film “I…” started up, a 1995 short full of abstract, hand-painted splotches that quivered nervously from frame to hand-drawn frame, moving ten times faster than they changed colour. Licht was the first to react to the change; after a few minutes, he began to tease us with hints of noise that quickly threatened to overwhelm the surround-sound speakers, whose green indicator lights started to flicker red from the sudden jump in volume. There wasn’t nearly as much change in the film, but they were off anyways; eventually Ranaldo started treating his guitar by sticking pieces of wood in the strings and swinging it wildly, apparently having fused the techniques of Jimi Hendrix and Fred Frith.
Then three things happened roughly at once: the film ended; Licht pumped up the volume even further and started laying down some serious squalling damage with his effects boxes; and Ranaldo started throwing unidentified objects, as well as picking up his guitar and then dropping it. I’d be the last person to suggest that improv is only interesting when it gets loud, but all three players seemed more comfortable expressing themselves once the decibels hit a certain level. (This just in: Ex-No Wave guitar dudes and a horn player who transcribed Metal Machine Music like noise. Film at eleven.) After a stretch of top-notch why-did-I-leave-my- earplugs-at-home screeching, they finished with very little denouement, having improved so much that had they done one set with films and one without, nobody would have had anything to complain about.
You’ve got to applaud Text of Light for their ambition, and they certainly aren’t lacking for skill either., But you also have to wonder whether Brakhage’s vehement desire not to have his films soundtracked was less an indication of his prickliness and more a desire — arguably a wise one — to let films be films, and music be music.
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